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Francesca Caccini: La Liberazione Di Ruggiero Dall'isola D'alcina

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Francesca Caccini: La Liberazione Di Ruggiero Dall'isola D'alcina FILOZOFICKÁ FAKULTA Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina Bakalářská diplomová práce OKSANA VENZHEHA Vedoucí práce: prof. PhDr. Miloš Štědroň, CSc. Ústav hudební vědy Hudební věda Brno 2021 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA Bibliografický záznam Autor: Oksana Venzheha Filozofická fakulta Masarykova univerzita Ústav hudební vědy Název práce: Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina Studijní program: Hudební věda Vedoucí práce: prof. PhDr. Miloš Štědroň, CSc. Rok: 2021 Počet stran: 87 Klíčová slova: Itálie, Francesca Caccini, 17. století, opera, baroko, balletto 2 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA Bibliographic record Author: Oksana Venzheha Faculty of Arts Masaryk University Department of Musicology Title of Thesis: Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina Degree Program: Musicology Supervisor: prof. PhDr. Miloš Štědroň, CSc. Year: 2021 Number of Pages: 87 Keywords: Italy, Francesca Caccini, 17th century, Baroque, opera, balletto 3 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA Abstract This bachelor’s thesis deals with an opera La liberazione di Ruggiero dall'isola d'Alcina by Francesca Caccini, composed in 1625 for the feast in Florence dedicated to the visit of Ladislaus IV of Poland. It is the only extant big theatrical work from Francesca Caccini. The aims of this thesis are there- fore to update the state of research about Francesca Caccini and all the no- torious information about her and the perception of her opera; describe the genesis and production of this work and identify its place in the historical context. The thesis also includes composer’s biography and is completed with an analysis of libretto and music. 4 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA Anotace Tato bakalářská práce pojednává o opeře La liberazione di Ruggiero dall'isola d'Alcina od Francescy Caccini, složené v roce 1625 ke příležitosti návštěvy polského prince Ladislava IV. Vasy ve Florencii v období karnevalu. Je to jediné velké divadelní dílo od Francescy Caccini, které se dochovalo. Cílem této práce je proto aktualizovat stav výzkumu o Francesce Caccini a všechny již doposud zjištěné informace o ní a vnímání její opery; popsat vznik a produkci tohoto díla a jeho místo v historickém kontextu své doby. Důležitou součástí práce je také biografie skladatele a je doplněna analýzou libreta a hudby. 5 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA Čestné prohlášení Prohlašuji, že jsem bakalářskou práci na téma Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina vypracovala samostatně pod vedením prof. Miloše Štědroně a uvedla v ní všechny použité literární a jiné odborné zdroje v souladu s právními předpisy, vnitřními předpisy Masarykovy univerzity a vnitřními akty řízení Masarykovy univerzity a Filozofické fakulty MU. V Brně 13. března 2021 ....................................... Oksana Venzheha 7 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA Poděkování Na tomto místě bych ráda poděkovala vedoucímu své práce prof. PhDr. Miloši Štědroňovi, CSc. za jeho lidský akademický přístup, nesmírnou ochotu se kterou k mé práci přistupoval a trpělivost při jejím psaní. Další poděkování náleží Giorgiu Cadorinimu, Dottore in Lettere, Ph.D., jehož podnětné rady a vstřícnost inspirovaly mne v průběhu psání práci. V neposlední řadě děkuji své rodině a přátelům za psychickou podporu a zejména své kolegyni Evgenii Tokmakově za její neocenitelnou technickou pomoc. 9 LIST OF FIGURES Table of contents List of figures 12 List of tables 14 1 Introduction 15 2 Francesca Caccini (1587–1641) 18 2.1 State of Research ........................................................................................ 18 2.2 Francesca Caccini at the Medici Court ............................................... 22 3 Opera La liberazione di Ruggiero dall’isola d’Alcina 27 3.1 Historical Context ...................................................................................... 27 3.2 Diffusion of Opera around 1625 .......................................................... 28 3.3 Performance and Staging Circumstances of the Opera ............... 31 3.3.1 Florence (1625) ……………………………………………………………31 3.3.2. Warsaw (1628) ……………………………………………….…………….33 4 Analysis 35 4.1 Libretto .......................................................................................................... 40 4.2 Music ............................................................................................................... 44 5 Conclusions 67 6 Summary 69 Bibliography 70 Appendix A 79 Appendix B 80 11 LIST OF TABLES List of figures Figure 1. The list of performers of the dancing roles from the fac-simile edition of La liberazione di Ruggiero dall’isola d’Alcina………………………32 Figure 2. Sinfonia……………………………………………………………………………..47 Figure 3. Figure 3. Prologue, the first appearing of Nettunno “Non perchè congiurati...” ………………………....………………………………………………………..49 Figure 4. Figure 4. Prologue, the second appearing of Nettuno “Ma per mirare…” …………………………………………………….……………………………….…50 Figure 5. Prologue, the third appearing of Nettuno “Meco venite…” ……51 Figure 6. Ritornello from the prologue. Fac-simile edition, 1998 ……….52 Figure 7. Ritornello from the prologue, transcription………………………...52 Figure 8. Prologue, choir of Numi dell’acque………………………………….….53 Figure 9. Claudio Monteverdi: opera L’Orfeo, scene I, choir “Vieni, Imeneo, deh vieni...” ..............................................................................................................53 Figure 10. Prologue, the fifth and sixth appearing of Nettunno…….…….54 Figure 11. Scene I, Melissa: „Cosi perfida Alcina…“.........................................55 12 LIST OF FIGURES Figure 12. Scene I, ritornello……………………………………………………….……56 Figure 13. Scene I, Due Damigelle: “Gentil Ruggiero D’amor...”.........,,.......57 Figure 14. Scene I, Ruggiero: “Quanto per dolce…”.............................,,,,........58 Figure 15. Scene I, Alcina: “Ah, non ti perder gioco...”............................,,,,,...59 Figure 16. Scene II, Alcina: “Così condisci ingrato…”......................................60 Figure 17. Claudio Monteverdi: L’Orfeo. Second appearing of Euridice “Ahi vista troppo dolce…”............................................................................................61 Figure 18. Claudio Monteverdi: L’Orfeo. Second appearing of Euridice “Ahi vista troppo dolce…”, transcription……………………………………….….62 Figure 19. Scene I, Una delle piante incantate: „Lasso, qual vista atroce…“.............................................................................................................................64 Figure 20. Claudio Monteverdi: choir ritornel “Apprendete pietà” from Ballo delle ingrate. Over-written from the edition of Luigi Torchi. L’arte musicale in Italia/ G. Ricordi a C., Milano, p. 237 ..............................................65 Figure 21. Example from the ending of La liberazione…………………….…66 13 LIST OF TABLES List of tables Table 1. The harmonic progression of sinfonia………….................................. 48 14 INTRODUCTION 1 Introduction This work aims to contribute to the research about Francesca Caccini, an early-baroque Florentine composer, with the historical placement and analysis of the opera entitled La liberazione di Ruggiero dall´isola d´Alcina (The Liberation of Ruggiero from the Island of Alcina). This opera has been created for the Medici court in Florence and performed for the first time on February 3, 1625, at the Villa Poggio Imperiale in honor of prince Ladislaus IV of Poland (1595–1648). The original manu- script belongs to Collezione Villa Maffei Poggiolini in Florence and is kept there. La liberazione is one of a few works or Francesca Caccini that have survived till our days, the other ones are several pieces from La tancia and Il passatempo from the year 1618, and a collection of thirty-six sa- cred and secular songs for the two voices and madrigals of various styles in Italian and Latin languages entitled Il primo libro delle musiche. La liberazione played a big role not only in her own career but also in the music history, as it was probably the first musical opera created by a woman composer. In spite the fact that today it is considered to be a comic opera, Francesca Caccini in collaboration with the librettist Ferdi- nando Saracinelli identified it both in the score and libretto as an opera- balletto. The basis for this thesis is a fac-simile edition of the score and libretto, containing five engravings of the sets by Giulio Parigi. The year of its print coincides with the first stage representation of La liberazione in modern times at Teatro Metastasio in Prato on the 20th of December 1998. The 15 INTRODUCTION original print from the year 1625 was executed by Pietro Cecconcelli in Florence.1 The thesis is introduced by the chapter with a state of research. There I will focus on a summary of the current state of knowledge closely re- lated to the subject. Further in the individual chapters we will first deal with the composer’s personality and life. The next chapter will focus on the circumstances of the opera performance at the court in Florence and three years later in Warsaw, a ceremonial occasion on which the work was studied and performed. The basis of the final section of this thesis will be an analysis of certain musical examples from the opera compared with relative pieces from Monteverdi’s
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